Vice's fashion photography (vicestyle.com) presents very different messages than their 'party shots.' The female body is consistently exposed and compromised in their fashion images, presenting a potentially problematic element to their culture. Vice is most likely attempting to de-stigmatize sex and nudity and is using their defiant attitude to present the body in extreme ways. Contemporary fashion culture is completely consumed with the idea of rallying against uniformity (Stuart and Elizabeth Ewen, 187). Fashion has gone from being highly regulated by social mores and values to being violently opposed to the idea of standardization (ibid). This emphasis on individuality has allowed for greater sales in clothing, as the concept of freedom has convinced people of greater agency within their self-expression (Stuart and Elizabeth Ewen, 186). This concept of "No rules, only choices" is keenly felt within the fashion images of Vice. Fashion has for the past 50 years also become intertwined with sexuality, particularly sexual liberation (Stuart and Elizabeth Ewen, 180). Vice follows this framework but also allows for a different interpretation of fashion and sexuality. Firstly, the clothing that the models are wearing is very rarely high-end or even designer. Also, the location, concepts and props used in the sets are often strange and extreme. The fashion shoots in Vice Style are more concerned again with this perpetuation of the 'alternative' image than actual fashion coverage.

The first two photos are taken from a shoot called "Fuck Winter," by photographer Petra Collins. The photos in this series depict men and women dressed in their underwear or swimsuits in the snow. The ways in which the woman and man are shown differ greatly. The woman is posed in a sexually compromising way. Her gaze is demanding, unlike than the man's. She is almost completely naked and eating snow. The lighting in this photo is also colder, harsher and starker. Her black hair and underwear are perhaps the most salient aspects of this photo, thus emphasizing her gender and femininity. The male counterpart is relaxing on a deck chair with a warm light cast over his body and a much softer camera focus. He is smiling, unlike the woman, and is looking away from the camera. It is important to also note that the female model is non-white, unlike the male. The most salient aspects of this photograph are the model's red swimming trunks and also the sunglasses. The articles of clothing are the emphasis in this photograph and much less emphasis is placed on the male's body. The expression of gender is decidedly different from that of the 'party shots.' Because fashion is positioned very directly within consumerism and capitalism, it could be that Vice is following more a more heteronomative discourse of gender identity expression.

The third image is from a series called "Playdating" by Masha Mel. It shows a young, African American female whisking what appears to be cake batter. She is scantily clad and is also looking directly at the camera, but she is positioned in a less vulnerable and overtly sexual way than the previous model. The photographs in this series lack the sharpness of the first two and look as if they have been taken with a film camera. The intention to produce an older-looking image could be a conscious artistic choice on the part of the photographer to create a sense of nostalgia. The model as engaging in baking frames and interpellates her within a particular domestic context. This concept of nostalgia presents an alternative visuality from the typical high-resolution, glossy images of most fashion magazine. Just as the previous images challenges expectations of setting by showing exposed bodies in extreme cold, this image transgresses the role of technology in fashion photography by utilizing a 'amateur' mode of production. Fashion photos that are blurry or lack focus also have the potential to obscure the semiotic meaning of the photograph rather than a sharp image (Rollins, 131). The choice to create a more visually unclear image could also be a way to re-contextualize the meaning of a sexualized woman in a domestic space. The photograph's use of nostalgia could be communicating something about traditional conceptions of heternormativity, but the level of self-awareness in this choice is impossible to know for sure.